EBS_freak

Headset mic for the drummer?

In order of cost - 1st improvement- correct mic technique. Eat the mic, work the mic, keep the gains low so your vocalist input is way, way, way louder than the surroundings. 2nd improvement - get the band to turn down. 3rd improvement - use mics with greater off axis rejection... however, if you vocalists aren't too hot on mic technique and singing direct onto the mic, you may have mixed responses. 4th improvement - optogate on open mics (but not the lead vocalists). They will only open when the singer is close proximity to the mic and are a lot more reliable than audio threshold gates. 5th improvement - use screens of shame. Drummer and cab shields can help prevent bleed to your open mics. 6th improvement - go silent stage and inears (appreciate there's a cost outlay here... but avoid 5th and go here... although you may still want the 5th for the drummer. The cymbals bleed everywhere.

“Less than 12ms latency” So… 11 point something ms latency. nup. plus total mayhem trying to coordinate multiple wireless devices.

Also noticeable on male vocals

Don’t do that - if you stand between the two, it will sound unbalanced

You can... and people do. I talk about similar in the IEM bible thread. If I was going down this route, I'd mount the receivers in a pouch on my bass with a unbalanced XLR stereo feed from the two receivers to a P2. Trying to hang all that off your belt will pull your trousers down.

A mate and me talked about this a while back... ...and produced something similar!

2 in 25 years. But I carry enough stuff to be able to field a failure.

Agree. All those full frame cameras and lenses that become rubbish because the next iteration came out! Anyway... There is no need for people to ditch their XR18s for A&Hs. The people that are going to do that, are the same people that like changing their bass all the time. There's still GAS in the PA world. Anybody that has build a monitoring solution around Ultranet or wants to use A&Hs ME solutions are going to be disappointed. (This is the big omission for me and if I was in the market for such a thing, as somebody that wants stereo IEMs, 3 auxes is a bit , especially when in the Ultranet world, adding stereo sub mixers is pretty cheap compared to buying a mixer with loads of auxes) I didn't mention it before, but it's the QSC mixer that's really going to take the heat from this release. I just can't see anybody wanting to buy a TouchMix now. Ever.

Con: External PSU (I'd like to see a Power con) Pro: External PSU (I'd rather have a external adapter than a transformer in the box that causes noise on the pres/channels - downside of small form factor)

USP of 96khz and probably A and H see themselves as a step above Behringer. Maybe a comparison to the MR18 would be more appropriate?

No, you'd have to combine the outputs of two users into one summing mixer. Use a Insert cable from the U4s into a PM1 for example.

Two U4s.

Yup. Didn't demonstrate any mixer focused knowledge in that video either.

His knowledge of mixers and their functionality would clearly be lacking.

Gosh. The Anderton's guy is sooooo annoying. It's like I've been dragged into a transmission of QVC. Great piece of kit, only thing that is a bit of a is the lack of connectivity to the ME personal monitors - which given that the XR18 has the ultranet, is a bit of a disappointment. But everything else, spot on I reckon.

https://reverb.com/uk/item/35930091-ampeg-v9-1979-910-9x10 75kg. Nice.

I find them more isolating than tips still, due to the higher volume of density of material in your ear canal. (e.g. customs tend to have a much larger solid amount of acrylic or silicone in the ear canal compared to tips). The best way to approximate what customs sound like in terms of isolation, is to put your fingers into your ears as deep as you can - it's like that (even to the point where if you talk you can hear it resonate in your head).

This is to go after the touchmix, ui, xr, Mackie market. 96khz is great to see too. Will the XR18 become unseated as weekend warrior mixer of choice?

Now these look interesting - Allen and Heaths new line of CQ mixers. "Allen & Heath has unveiled its new CQ series, a trio of compact digital mixers for musicians and bands, audio engineers, home producers, small venues, and AV installers, that places ease of use and speed of setup firmly at the heart of the user experience. “CQ takes our renowned processing and effects, adds exciting new assistive mixing tools, and packages it all up into our smallest, and most affordable, digital mixer series yet,” says Keith Johnson, Product Manager at Allen & Heath. “Usually at this price point, users are forced to choose between a mid-range analogue mixer, lacking in modern features, or an entry-level digital mixer, where corners have inevitably been cut. With CQ there are no compromises. It’s a fully featured 96kHz mixer with stunning audio quality and intelligent tools that, regardless of your experience, lets you mix smarter, sound better and work faster. Just add sound!” Built around an innovative new 96kHz processing engine, the series comprises the CQ-12T and CQ-18T desktop mixers featuring tactile controls and a seven-inch multi-touch screen, and the portable CQ-20B stage box mixer, all controllable via the companion CQ apps. The processing engine, utilising Allen & Heath’s FPGA technology, brings numerous time-saving tools to the CQ to speed up and simplify common tasks for users of all abilities. Gain Assistant automatically sets preamp gain to the optimal level and monitors and adjusts for any unexpected peaks in the signal. Feedback Assistant identifies and filters out problem frequencies across all outputs via simple one-button operation, with more in-depth control available for challenging acoustical environments. Input channels can be switched between a Quick Input, giving users a source-specific set of controls with single knob control of channel processing, or a Complete Input for full control of all channel processing parameters. Additionally, an Automatic Mic Mixer (AMM) is present on all input channels, instantly improving clarity and reducing background noise in speech-based applications. The CQ range also introduces a new suite of high-quality, user-friendly reverb, delay and modulation algorithms with instrument-specific presets for speedy setup, while the FX Assist tool shapes the FX by dynamically responding to the input signal for optimal clarity. The CQ-18T and CQ-20B offer 4 FX engines and the CQ-12T features 2 FX engines. All three CQ mixers benefit from flexible recording and playback options including a multichannel USB audio interface, multitrack SD card playback and recording, simple stereo recording and playback via an external USB drive, plus convenient stereo Bluetooth playback. The CQ series is supported by a pair of free multi-platform apps. The CQ-MixPad app enables remote control of the mixer from anywhere in the venue, while the CQ4You app empowers performers to take control of their personal monitor mix via their mobile devices. The CQ-18T and CQ-20B also benefit from integrated high-performance dual-band Wi-Fi for quick and easy connection of control apps without any additional network equipment. The CQ-18T provides 16 mic/line inputs and 1 stereo input, the smaller CQ-12T includes 10 mic/line inputs and 1 stereo input, and the stage-friendly CQ-20B offers 16 mic/line inputs, two of which can be used as Hi-Z instrument inputs, and 2 stereo inputs. All three models feature 6 independent outputs which can be configured to run up to 3 stereo outputs." Yum. If pricing is right, these look spot on.

55.6k views in the buoyant IEM Bible thread. There's plenty of interest - mindset change is the hardest, and of course, the user experience is only as good as the sum of the components. If your mixer cant hack it, you haven't got the FoH oomph to put your bass through and your IEMs are rubbish (e.g. the phones you get free with your phone), then yeah, results are going to be variable.